HELLO AND WELCOME TO MY SITE. MY NAME IS ASHOT ARAKELYAN. I’M A RECORD COLLECTOR. HERE YOU CAN ORDER ON THE WORLD WIDE WEB THE RAREST CD TRANSFERS FROM 78 RPMS OF DISCHI FONOTIPIA. EACH CD CONTAINS 25 TRACKS AND COSTS 25 EURO. YOU CAN MIX IN ONE CD RECORDINGS OF DIFFERENT OPERA SINGERS BY YOUR WISH. RECORDINGS ARE AVAILABLE ALSO FOR ONLINE DOWNLOADING. YOU WILL ALSO RECEIVE PHOTOS OF THE SINGERS AND LABEL SCANS OF A RECORDS. RECORDINGS FOR SALE SEE UNDER THE ARTICLES. I ACCEPT PayPal.

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Tuesday, April 3, 2012

Fernando De Lucia (Tenor) (Naples 1860 – Naples 1925)

He studied at the Naples Music Conservatory with Vincenzo Lombardi and Beniamino Carelli. He made his debut at the Teatro di San Carlo, Naples, as Gounod's Faust in 1885. Over the next two or three years he sang in Spain, South America and in the smaller Italian opera houses, in Linda di Chamounix, Dinorah, L'elisir d'amore, Fra Diavolo and La sonnambula. While in Madrid he was hired by Augustus Harris and Herman Klein for his first London appearances in the Drury Lane season of 1887; but although Klein liked his Alfredo, he went comparatively unnoticed due to the British debut of the charismatic tenor Jean de Reszke. His Almaviva in Il barbiere di Siviglia (a role later closely associated with him) was described as "truly detestable" by The Times newspaper. On October 31, 1891, De Lucia took part in the world premiere of L'amico Fritz, singing the role of Fritz Kobus opposite the French diva Emma Calvé. The opera had been composed by the up-and-coming musician Pietro Mascagni and its debut occurred in Rome at the Costanzi Theatre. For a singer later upheld (by some) as the rarified model of bel canto style the situation was originally quite otherwise; De Lucia was, in fact, famous during his career not as a bel canto stylist, but as a performer of Mascagni and Ruggero Leoncavallo's earthy, melodramatic verismo characters. De Lucia capitalized on Europe's Mascagni craze of the early 1890s. Accordingly, in November 1892, he was engaged by the Florence opera house to create the tenor lead in Mascagni's third opera, I Rantzau. Appearing with him in the work was the virtuoso baritone Mattia Battistini. De Lucia's verismo-opera career continued apace with the first English performance (on 19 May 1893, with Enrico Bevignani conducting), of Leoncavallo's Pagliacci, opposite Nellie Melba and Mario Ancona. De Lucia sang the part of Canio, which had been created a year earlier in Milan by Fiorello Giraud. Klein describes an audience breathless with excitement, and De Lucia's burning intensity in the role as a triumph of realism. Mascagni made his own London debut at Covent Garden, conducting L'amico Fritz on June 19, 1893 with Calvé and, of course, De Lucia in the cast. Soon afterwards, again with Calvé, and accompanied by the song composer Paolo Tosti, De Lucia sang excerpts from Cavalleria rusticana for Queen Victoria at Windsor. On July 7 of that year, appearing in a cast which included sopranoNellie Melba and the baritonesMario Ancona and David Bispham, he gave the first British performance of I Rantzau at Covent Garden. (The opera was not a great success.). In 1893-94, De Lucia sang in New York City at the Metropolitan Opera. He repeated his Canio with Melba and Ancona, and this was esteemed; but he was disliked as Don Ottavio in Don Giovanni and as the Duke of Mantua in Rigoletto. He did not repeat the experience. In London in 1894, he performed both Cavalleria rusticana and Pagliacci (together on the one night) at Covent Garden, with Ancona in the lead baritone parts. Shaw admired the "'altogether exceptional dramatic force" which their performances gave to the pair of works. That season he was also in a bilingual (French-Italian) Faust, with Melba, Ancona and Bauermeister. De Lucia sang at La Scala in 1895 in the world premiere of Mascagni's Silvano, and also appeared in the first Milan performances of Puccini's La bohème and Massenet's La Navarraise. The American baritone David Bispham thought De Lucia admirable in Fra Diavolo that year. The cast of Auber's light-hearted opera featured Bispham and Mme Amadi (as Lord and Lady Allcash) and Marie Engle (as Zerlina), as well as the bass Vittorio Arimondi and the buffo baritone Antonio Pini-Corsi (as brigands).In 1896, in Milan, De Lucia appeared as Cavaradossi in Tosca, and again as Almaviva. The next year, he sang in a state concert at London's Buckingham Palace to mark Queen Victoria's Royal Jubilee. At the Costanzi Theatre, Rome, on 22 November 1898, he created the role of Osaka in Mascagni's Iris, and at Covent Garden on 12 July 1900 he played Cavaradossi in the first performance of Tosca in England, supporting the Floria Tosca of Milka Ternina, with Antonio Scotti as Scarpia and Luigi Mancinelli conducting. De Lucia was also admired in London as Don Jose in Bizet's Carmen. He appeared, too, in the same composer's I pescatori di perle and in various works by Rossini, Bellini and Verdi. His last London season would be in 1905, in an outstanding operatic company assembled by Henry Russell for the Waldorf Theatre (now the Novello Theatre). In 1916, De Lucia delivered his farewell performance at La Scala as Rodolfo. He said goodbye to his loyal Neapolitan supporters the following year at the Teatro di San Carlo. De Lucia's final appearance before the public occurred at the funeral of the incomparable Enrico Caruso in Naples in 1921. In his later years, De Lucia dwelt in Naples and taught at the conservatory there, in which he himself had been trained. His most famous pupil was the French tenor Georges Thill. He died in his native city of Naples.

1 comment:

Hi Ashot - de Lucia, a forgotten singer? I hope not! He's one of my all-time favourites. I have all the G&Ts on the old Rubini LPs (twice!); and the Pearl CD sets covering some of the same ground. I've heard (his parts of) the Phonotype operas, though haven't got great transfers; and I'm not sure if I've got transfers of all the Fonotipias. What I would really like is more transfers of his later Phonotypes! Maybe you have some of those hidden away too?? Perhaps you can email me -- phaistos -at- spamarrest -dot- com & let me know what the Fonotipias & operas would cost, and let me know about the Phonotypes? Thanks David

READ SOME REVIEWS OF BUYERS

Dear Ashot I have received all the recordings I wanted. Even though I have not yet listened to all the gems you sent me, I can already express my opinion. At first I referred to the complete “Tosca” with Valentina Bartolomasi in the title role, whose timbre reminded me a little of Gilda dalla Rizza’s and produced an unforgettable impression: I have listened to her Vissi d’arte, you will not believe, seven times! And a special thank you for including bonus tracks with Bartolomasi singing operatic arias and duets, it was a fantastic pleasure! Then came the complete “Rigoletto” with Danise/Badini, Borghi-Zerni/Simzis and Broccardi. It is excellent in every respect, the collaboration of the singers, the orchestra and the chorus is so great that the quality of the sound and the absence of a few excerpts, which, as I know, have been lost, do not spoil the aesthetic enjoyment one takes out of it. I now really regret that Olga Simzis, who was, by the way, born inRussia, made so few recordings and is so much forgotten today… Ayres Borghi-Zerni’s voice, despite being less mature and deep than Olga’s, is ideally suitable for Gilda’s virginity. After “Rigoletto” I turned to the almost complete “La traviata” with Bevignani/Tumminello. Margherita Bevignani’s voice possesses an unimaginably beautiful timbre combined with a perfect technique which you will never find in modern singers. Her abundant coloraturas (as inAh, se ciò è ver, fuggitemi andSempre libera), which may seem weird in modern Violettas, make Bevignani’s interpretation of the main character exquisitely vulnerable… The rest of the singers’ performance is just as distinguished. A perfect recording! Such a shame some of the sides have been mutilated or lost… And, finally, I listened to some of the fragments from the incomplete 1912 Columbia recording of “Aida” I was particularly looking forward to listening to. Before I decided to buy the recordings, my attention had been drawn to the name of Lia Remondini, who, despite her total obscurity, is known to have participated in the first complete recordings of “Tosca” and “Aida”. Frankly speaking, I was captivated by the voice straight away when I turned on her O patria mia… Fantastic splendour and richness combined with expressiveness you will never find in any of today’s operatic stars! Gaetano Tommasini and Andreina Beinat are good partners for Lia, especially the latter one, whose velvet mezzo vividly trasmits Amneris’s anguish in my favourite Judgement Scene. To sum up, I would like to say that I am very grateful to you for everything you are doing for opera fans from all over the world. Your blog a precious oasis for all of us. A hundred thousand thanks to you!!! Severyan Tsagareyshvili, Russia, Moscow. severyan12@xxxxxx.ru

Dear Mr Arakelyan, I have received from you all and by far the rarest material of all the singers I've asked you for: Case, Pinto, Huguet, Corsi, Aramis, Pinkert, Michailova, Elizza, Storchio, Poli-Randaccio, Arkel, Barrientos, Russ, Korsoff, Guglielmetti, Finzi-Magrini, Pandolfini and Eva Tetrazzini!!! I still cannot believe that such an incredible collection exists and what’s more that its owner shares it generously with everyone who takes an interest. I have already spent many wonderful hours listening and discovering these new (old!) unknown to me treasures. I am happy that someone cares about keeping opera history and tradition alive and I confess that your collection is the most impressive I have ever came across in my entire life! Even more impressive is that almost 90% of the singers you present are actually "forgotten" or I prefer to think newly "resurrected" by You! All best regards Aris Christofellis Athens

Hello Ashot. I have received the CD today. I could not wait to review it. I am very pleased with the results. And thank you for the bonus tracks. The photos and the record labels are an added delight. I recommend your services to anyone who is interested in fine historic music. Thank you so much again. All the best to you. Robert Dlugaj Edmonton Canada. rdlugaj@xxxxx.com

Dear friend, I received today the CD that I heard with deep emotion. Thank you very much for everything. Kindest regards Sergio Matrojani Franzese Italy vurdon@xxxxxxx.it

Dear Ashot, Finally I have received the CD. Thanks and cordial regards Simonetta Bruzzi Italy simonetta.bruzzi@xxxxxxx.es

Dear Ashot, thank you for the 3 CDs full of de Lucia Phonotypes – I have had a wonderful time listening to these later records. And thank you for your patience as I struggled to select just a few of your enormous collection to complete the CDs; and for your generous additon of a few extra records as a bonus - that was a lovely surprise! It is lovely to have some of the labels as well to look at – not as good as holding a 78 but still a pleasure! David Wyatt England pwyattd@xxxxxxxx.co.uk

Hallo Ashot, The CD works perfectly and IԲve already enjoyed listening to it! Thank you and best regards Leonhard Salzburg l_kohlhofer@xxxxxxx.com

Dear Ashot I just received the CD today. I did not for the moment listen to all the trak, just some extracts of Norma with Vera Amerighi-Rutili . I was quite impressed by the singer (I just knew the name, I did read quite a lot about her but I did not have the occasion to hear her). I was also impressed by the quality of the transfer. They seem to be quite authentic Thank you also for the photos and the biography Sincerely Sylvain France sylvain_moreau@xxxxxxx.fr

Ciao! The CD has arrived! Thank you very very much Mx Italy massi81@xxxxx.com

Grazie!!!! Thanks a lot!!! My mother she is really happy !!! And after listening her Grandmother singing she was even crying !!! So thanks Tommaso Carlesi Italy tomcarl@xx.com

Dear Ashot - Many thanks for the wonderful recordings of these forgotten operatic tenors. You are doing a great and welcome service to collectors of vocal 78s.Best wishes - John. England johnmbanks@xxxxxxx.com

Hello Dear Ashot, thank you so much! I have received the CD with the great singers. I am very pleased in listening all the time,to such wonderfull voices! Thanks also for the extra interresting photos and labels. Your vintage collection of opera singers is unique! Thank you very much and best regards, Wladimir The Hague Netherlands roemjantsew@xxxxxx.nl

Dear Ashot, Many thanks - all much appreciated and a very satisified friend.

Well done and a great present thanks to you.

Very best regards,

Andrew kingandrew@xxxxxx.ch

Dear Ashot! This morning the CD arrived and I can't tell you how happy we both are! All the tracks and pictures are wonderful and one of the most emotional for us was Primo Montanari. Thank you again for all - especially your patience. Wishing you a great day, all our best! Jean Bennett and Ornello Giorgetti Italy San Mauro Pascoli jean.bennettgiorgetti@xxxxx.com

Hi Ashot - I got the disc - many thanks! Actually it arrived on my birthday))))

Remember to let me know if you get more interesting rare Russian music, like the Bukke I asked about.

Best regards,

Christopher

christopherpeters@xxxxx.co.uk

Good Morning Ashot,Both discs have arrived for which I thank you very much.This is perfect and very enjoyable to listen to. She does have a lovely voice.Thank you very much and I am sorry for any inconvenience you may have been caused by the postal system.With best wishes and kind regardsChristene Dalla Riva cdr@iinet.xxx.xx

I recieved the program today! I so so moved snd in cant believe the condition, where did you get it!

Penny Morgan

England London

pennymorganlondon@xxxxx.com

Dear Ashot,It is lovely to have so much more of my grandfather.Penny MorganLondonpennymorganlondon@xxxxx.com

Comments

FONOTIPIA RECORDS (SOCIETA ITALIANA DI FONOTIPIA MILANO)

Fonotipia Records, or Dischi Fonotipia, was an Italian gramophone record label established in 1904 with a charter to record the art of leading opera singers and some other celebrity musicians, chiefly violinists. Fonotipia continued to operate into the electrical recording era, which commenced in 1925-26, by which time the company had been absorbed into Odeon records. The records made by Fonotipia are prized by collectors and musicologists for their high technical quality, and for the high artistic merit and interest of much of what was captured for posterity.Fonotipia is not to be confused with the Phonotype record label which was active for part of the same period.Fonotipia records was established in 1904 by the Anglo-French composer Baron Frederic d'Erlanger (1868-1943), as the Società Italiana di Fonotipia, Milano, expressly for recording celebrities, principally opera singers. (A recent re-issue of some titles states that it was formed as part of the International Talking Machine Company of Berlin.) The records were lateral needle-cut of the usual kind, starting at the outer edge, and playing at speeds at or near 78 rpm. From the outset, Fonotipia's output was distinguished by the use of unusual record sizes, the original series of one thousand titles (numbered 39000-39999) being in the 27cm or ten and three-quarter inch format. (Disc xPH 1, issued as 39003, was cut in 1904 by the great La Scala baritone Giuseppe Pacini, who sings the operatic aria "Il balen" from Verdi's Il Trovatore.) Unlike the Gramophone Company's more refined numbering system, Fonotipia's system agglomerated male, female and ensemble artists — with piano accompaniments — on an indiscriminate basis. This original series was complete by 1907 when a new 27cm series, 62000, was begun — also with piano accompaniment. From late 1907, it ran in tandem with the 27cm 92000 series, which had orchestral accompaniments. In 1905, the 69000 series was introduced. It featured a large disc of 35cm (13 and three-quarter inches); but it ran to only 22 titles before being discontinued as unpopular with the consumer market, owing to the format. However this short series had the distinction of including the only known commercial records by the great Polish tenor Jean de Reszke, namely the titles 69000, "Scene du tombeau" (from Roméo et Juliette, by Gounod), and 69001, "Ô Souverain, Ô Juge, Ô Père" (from Le Cid, by Massenet). Unfortunately, the record was never officially issued, and although there have long been rumours of the existence of a test pressing or two, no copy is certainly known to exist. It appears that de Reszke had the pressings destroyed because he was disappointed with the results. Nonetheless, this fabled relic has become a 'holy grail' of operatic record collectors, who must fall back on the faint and scratchy Mapleson Cylinders, cut during live performances at the New York Metropolitan Opera, in order to hear a dim echo of de Reszke's voice. The 35cm Fonotipia series also included two titles by the Czech violinist Jan Kubelík, including 69010 — a transcription of the Sextet from Lucia di Lammermoor. There was also a 12" (30cm) series, issued under the number 74000 and following. It included some operatic titles, though most of the first 100 numbers were dedicated to band music, or to the work of violinists Kubelik and Franz von Vecsey. They resumed as 74100 for another series with orchestral accompaniment. The 74000 series ceased production with the advent of electrical recording in about 1925. Incidentally, 92000, the orchestral 27cm series, was completed in 1914, and was replaced by the 69000 series, now issued at 27cm and commencing with 69050. There was a break in activity during the First World War. By 1922, Fonotipia had become a partner of Odeon records, and in that year a new, conventional 10" series numbered 152000 was begun. This series included a good deal of inferior material.The 1925 Catalogue is thought to have been the last issued under the Fonotipia name, though many titles remained and were listed under one cover with the Odeon catalogue. Electrical recording was begun in Italy in 1926, and the first such issues were released with the 1928 catalogue. Many of the matrices were carried over into pressings issued under Odeon labels. It also seems possible that some of the actual recording equipment was transferred to the Odeon studios, for a distinctive feature of the tracking of the groove-cutting equipment in Fonotipia records shows a single revolution halfway through the side where the groove is widely-spaced, and this idiosyncrasy (a security feature so that pirate stampers electroplated from a Fonotipia original could be instantly recognised) occasionally persists under Odeon's aegis.Among the singers, many of them famous, who recorded for Fonotipia were the following: Aino Ackté, Pasquale Amato, Giuseppe Anselmi, Teresa Arkel, Ernesto Badini, Aristide Baracchi, Maria Barrientos, Ramon Blanchart, Alessandro Bonci, Giuseppe Borgatti, Georgette Bréjean-Silver,Eugenia Burzio, Victor Capoul, Mercedes Capsir, Maria Carena, Margherita Carosio, Ferruccio Corradetti, Emilia Corsi, Armando Crabbé, Gilda dalla Rizza, Leon David, Nazzareno de Angelis, Elvira de Hidalgo, Giuseppe De Luca, Fernando De Lucia, Emmy Destinn, Adamo Didur, Léon Escalais, Giuseppina Finzi-Magrini, Nicola Fusati, Edoardo Garbin, Giovanni Inghilleri, Maria Jeritza, Jan Kiepura,Giacomo Lauri-Volpi, Félia Litvinne, Oreste Luppi, Antonio Magini-Coletti, Luigi Manfrini, Gino Martinez-Patti, Victor Maurel, Irene Minghini-Cattaneo, Francesco Navarini, Giuseppe Noto, Giuseppe Pacini,Rosetta Pampanini, Tancredi Pasero, Aureliano Pertile, Lily Pons, Giannina Russ, Mario Sammarco, Emile Scaramberg, Mariano Stabile, Rosina Storchio, Riccardo Stracciari, Conchita Supervia, Richard Tauber, Ninon Vallin, Ernest van Dyck, Francisco Vignas and Giovanni Zenatello.